Chinese Cinema:From the Fifth Generation to contemporary global entertainment industry,independent documentary,and the post-Fifth Generation filmmakers. 红高梁Hong gaoliang:Red Sorghum(1988) Presenter:Gavin Jocius
Chinese Cinema: From the Fifth Generation to contemporary global entertainment industry, independent documentary, and the post-Fifth Generation filmmakers. 红高粱 Hong gaoliang: Red Sorghum (1988) Presenter: Gavin Jocius
Outline: Historical context-lead up to Fifth Generation Fifth Generation Filmmakers Films Huang tu di:Yellow Earth(1984) Hong gaoliang:Red Sorghum(1988) Lan fengzheng:The Blue Kite(1993) Huozhe:To Live(1994) Sixth Generation Beyond Discussion Screenings
Outline: Historical context – lead up to Fifth Generation Fifth Generation Filmmakers & Films Huang tu di: Yellow Earth (1984) Hong gaoliang: Red Sorghum (1988) Lan fengzheng: The Blue Kite (1993) Huozhe: To Live (1994) Sixth Generation & Beyond Discussion Screenings
Point of clarification: "The business of naming is complex.To begin with,'Chinese cinema'as a general term is often applied to films made in mainland China,Hong Kong,and Taiwan"(Zhang,18). "To avoid unnecessary confusion,we might keep the general term"Chinese cinema"and instruct the reader to bear in mind the problematic nature of China or Chineseness"(Zhang,22). "While there are political and cultural,as well as geographical and historical differences between the three places(Hong Kong,mainland China Taiwan),works by directors from all these places can still validly be described as 'Chinese film" (1993)Zheng Dongtian-professor at BFA (Zhang,19). "Common cultural tradition
Point of clarification: “The business of naming is complex. To begin with, ‘Chinese cinema’ as a general term is often applied to films made in mainland China, Hong Kong, and Taiwan” (Zhang, 18). “To avoid unnecessary confusion, we might keep the general term “Chinese cinema” and instruct the reader to bear in mind the problematic nature of China or Chineseness” (Zhang, 22). “While there are political and cultural, as well as geographical and historical differences between the three places (Hong Kong, mainland China & Taiwan), works by directors from all these places can still validly be described as ‘Chinese film’” (1993) Zheng Dongtian – professor at BFA (Zhang, 19). “Common cultural tradition
1)The Beginnings:Shanghai,1896-1945: During the 1920s film technicians from the United States trained Chinese technicians in Shanghai. Film Genres:comic shorts,feature length films,and family dramas. Tianyi(Unique)Company,family studio founded by the Shaw(Shao)brothers in Shanghai in 1925.But contrary to the trendy features on contemporary issues produced by competing Chinese studios,Tianyi developed its own brand name by adapting Chinese folk tales, myths,and legends already popular among audiences. Their two-part White Snake (1926)broke all records of Chinese films in Southeast Asia. and this kind of overseas success was crucial to Shanghai studios because the majority of movie theaters in China were owned by the foreigners and showed mostly foreign films. 1930s-"progressive"or "left-wing"movement: Progressive films of the 1930s were noted for their emphasis on class struggle and external threats(i.e.Japanese aggression),as well as on their focus on common people, such as a family of silk farmers in Spring Silkworms and a prostitute in The Goddess. The Goddess named by director Chen Kaige(Fifth Generation Director)as his favorite film of the 1930s. In part due to the success of these kinds of films,this post-1930 era is now often referred to as the first"golden period"of Chinese cinema. Japanese occupation of Shanghai,ended the golden run in Chinese cinema. THE GODDESS神女 Starring Ruan Ling-yut诊玉 e
1) The Beginnings: Shanghai, 1896-1945: During the 1920s film technicians from the United States trained Chinese technicians in Shanghai. Film Genres: comic shorts, feature length films, and family dramas. Tianyi (Unique) Company, family studio founded by the Shaw (Shao) brothers in Shanghai in 1925.But contrary to the trendy features on contemporary issues produced by competing Chinese studios, Tianyi developed its own brand name by adapting Chinese folk tales, myths, and legends already popular among audiences. Their two-part White Snake (1926) broke all records of Chinese films in Southeast Asia, and this kind of overseas success was crucial to Shanghai studios because the majority of movie theaters in China were owned by the foreigners and showed mostly foreign films. 1930s - "progressive" or "left-wing" movement: Progressive films of the 1930s were noted for their emphasis on class struggle and external threats (i.e. Japanese aggression), as well as on their focus on common people, such as a family of silk farmers in Spring Silkworms and a prostitute in The Goddess. The Goddess named by director Chen Kaige (Fifth Generation Director) as his favorite film of the 1930s. In part due to the success of these kinds of films, this post-1930 era is now often referred to as the first "golden period" of Chinese cinema. Japanese occupation of Shanghai, ended the golden run in Chinese cinema
2)The Second Golden Age,the late 1940s: Many of these films showed the disillusionment with the oppressive rule of Chiang Kai-shek who served as Generalissimo (Chairman of the National Military Council)of the Nationalist Government of the Republic of China(ROC)from 1928 to 1948 Spring in a Small Town(1948),a film by director Fei Mu shortly prior to the revolution,is often regarded by Chinese film critics as one of the most important films in the history of Chinese cinema. It was its'artistic quality and apparent lack of"political grounding"that led to its labeling by the Communists as rightist or reactionary. Exiled Fifth Generation filmmaker Tian Zhuangzhuang(The Blue Kite)did a remake of the film in 2002. 穆費 rom the creators of CKOCKCHING TIGER.HIDDEN DRAGON 李 SPRINGTIME 明緯 INA SMALLTOWN 品出司丞言
2) The Second Golden Age, the late 1940s: Many of these films showed the disillusionment with the oppressive rule of Chiang Kai-shek who served as Generalissimo (Chairman of the National Military Council) of the Nationalist Government of the Republic of China (ROC) from 1928 to 1948. Spring in a Small Town (1948), a film by director Fei Mu shortly prior to the revolution, is often regarded by Chinese film critics as one of the most important films in the history of Chinese cinema. It was its’ artistic quality and apparent lack of "political grounding" that led to its labeling by the Communists as rightist or reactionary. Exiled Fifth Generation filmmaker Tian Zhuangzhuang (The Blue Kite) did a remake of the film in 2002